This event is 21 and over

Share This Event

KIRIN J CALLINAN has his own theory that the three great Australian bands, the Mt. Rushmore of Oz if you will, all have a criminal aspect to them: AC/DC = gang of outcasts raising hell, INXS = sexual deviancy, lasciviousness, and Nick Cave = murderous poet. Kirin has elements of all three, and in time, he will be the fourth face on that rock.

A guitarist, singer, songwriter & solo performer born in Australia, Callinan is a child of the 1980's, who excels at haunting compositions and wild guitar playing. He is known for his confrontational live performances, which are always shirtless, brilliant, and rich with some combination of guitar hero antics, musical theater, stand-up comedy, primal emotion, punk sensibility, awkward silences and ugly realism. He is a performer by nature, very charismatic, and very unafraid to bare his soul.

"The Australian Kirin J Callinan took Glasslands' stage by himself, which is all he really needed to then take most of the room….Callinan's voice is tuneful and halting — psychobilly-redolent stuff with an operatic air. Callinan's persona frames a nervy, curdling yet endearing charisma you can't take your eyes from and makes you laugh and yet you probably wouldn't let your young ones near….The music was rarely conventional, mostly experimental, like Scott Walker with a thing for stomp boxes and Lux Interior and Nick Cave." Read a review from STEREOGUM after they attended an early show of Kirin's last October in New York during CMJ.

Embracism's title track was released to the public in April of 2013, and served as an audacious mission statement. The album itself is an incredibly ambitious and varied work that traverses many styles, touching on such themes as masculinity, death, war, patriotism, infidelity and loss, at points jarring and dissonant, at others subdued and positively melodic, while remaining pensive and vulnerable throughout. Embracism was produced by Kim Moyes (The Presets) at his home studio in Sydney and mixed by Chris Taylor (CANT, Grizzly Bear).

KIRIN J CALLINAN previously cut his teeth as a guitarist, most notably playing in bands (Mercy Arms, Jack Ladder) amongst numerous collaborations. Embracism is his debut full-length release as a solo artist.

Terrible Records was started by Ethan Silverman and Chris Taylor. This release, in partnership with XL Recordings, follows previous releases from Twin Shadow, Kindness and Solange.

Siberia Records is Kirin's Australian and New Zealand home, originally started by the Midnight Juggernauts to release their own music worldwide, now releasing a new wave of Australian subversive groundswells and popular consciousness.

Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colorful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of transgressive pop music.

When Norwegian noise legend Lasse Marhaug interviewed Jenny Hval for his fanzine in early 2014, they started talking about movies, and the conversation was so interesting that she asked him to produce her next record. It turned out that talking about film was a great jumping off point for album production. Hval’s songs slowly expanded from solo computer loops and vocal edits to contributions from bandmates Håvard Volden and Kyrre Laastad, before finally exploding into collaborations with Øystein Moen (Jaga Jazzist/Puma), Thor Harris (Swans), improv cellist Okkyung Lee and harpist Rhodri Davis. All of these musicians have two things in common: they are fierce players with a great ear for intimacy, and they hear music in the closing of a suitcase as much as in a beautiful melody.

And so Apocalypse, girl is a very intimate, very visual beast. It dreams of an old science fiction movie where gospel choir girls are punks and run the world with auto-erotic impulses. It’s a gentle hum from a doomsday cult, a soft desire for collective devotion, an ode to the close-up and magnified, unruly desires.

Jenny Hval has developed her own take on intimate sound since the release of her debut album in 2006. Her work, which includes 2013’s critically celebrated Innocence Is Kinky (Rune Grammofon), has gradually incorporated books, sound installations and collaborations with poets and visual artists. For Hval, language is central, always torn between the vulnerable, the explosive and total humiliation.